Netflix Investment Boosts Mexico’s Film Industry Amid Incentive and Location Perks

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Depending on who you ask, the state of Mexico’s film industry is either waxing or waning.

2023 witnessed two significant labor strikes in the U.S., resulting in fewer film and TV productions that year and the subsequent one. Contrastingly, the initial quarter of 2025 has shown a notable surge of 16% in overall audiovisual activity according to Guillermo Saldaña, Mexico City’s Film Commissioner.

It’s my belief that our partnership with the U.S. and Colombia is mutually beneficial, as we exchange skills, industries, and information. We maintain close ties with the MPA, Hollywood studios, Netflix, and others,” he stated, further explaining: “Recently, there’s been a feeling of apprehension — I’d term it like a potential tariff issue — but it’s important to remember that we aren’t solely reliant on the American entertainment industry. We also possess a robust domestic industry that creates content for both local and U.S. Latino audiences.

According to Saldaña, some local production companies experienced a slowdown in 2024, but are now picking up speed in 2025 with two to three projects currently in progress. However, others remain hesitant due to the reduction of incentives for domestic productions and have remained idle.

Nicolas Celis, president of AMPI and FMPC (recently established Mexican Federation of Film Producers), observed that Mexico’s influence in global film events has decreased as of late,” remarked Nicolas Celis from Pimienta Films, best known for productions like “Roma” and “Emilia Perez.” This observation was made during the Guadalajara Film Festival on Sunday.

Efficine, the motivator for co-productions, declined the proposals from local producers to take part in this year’s Cannes Un Certain Regard winners, “The Enigmatic Stare of the Flamingo” from Chile and “A Poet” from Colombia.

Back in February, when Netflix’s co-CEO, Ted Sarandos, appeared alongside President Claudia Sheinbaum of Mexico, they made an exciting announcement: a significant $1 billion investment over the next four years into Mexican film and television production. This news caused quite a celebration within the local audiovisual industry.

Stacy Perskie, who’s known for his work on major international productions like “Spectre,” “Elysium,” and upcoming projects such as “The Gringo Hunters” and “Man on Fire,” shared that the film was warmly accepted within the industry. He received calls from all around the globe, indicating global acclaim. Among other significant local projects, he’s also contributed to “Narcos: Mexico,” “Pedro Paramo,” and Alejandro González Iñárritu’s “Bardo,” which required shutting down Mexico City’s center.

Discussing the intensifying competition from various regions in Latin America and beyond, he emphasized: “There are numerous incentives spread across Latin America and Europe, yet when you consider Mexico alongside all these incentivized locations, it becomes clear that many resources such as equipment, crew, department heads, etc., will not be necessary. Additionally, geographically, Mexico is closer to Los Angeles than cities like Atlanta or New York.” Currently, international productions in Mexico can claim a 16% Value-Added Tax (VAT) refund on a federal level. The only exception being the state of Jalisco, which provides a cash rebate incentive; however, this incentive has an annual cap of $5 million.

As a supporter who’s excited about the upcoming projects from Celis, I can’t help but imagine how even more captivating Mexico would be if there were incentives in place. With films like Lila Avilés’ “The Chambermaid”, Tatiana Huezo’s “The Echo”, Eliza Miller’s “Hurricane Season” and the debut feature of acclaimed stop-motion artist Sofia Carrillo on the horizon, it’s clear that Mexico’s cinematic landscape is thriving.

Discussions about implementing a nationwide filming incentive are being carefully coordinated with the President’s office and the Ministry of Economy, as stated by Saldaña.

In Mexico City, the movie business accounts for approximately 12% of the city’s total GDP, demonstrating substantial financial commitment. The President acknowledges its significance, which is why she made a joint declaration with Netflix. Ongoing discussions are taking place in the Ministry of Economy’s Creative Industries meetings, involving cultural organizations such as the film institute Imcine, the Ministry of Culture headed by Claudia Curiel, and multiple industry associations, as stated by him.

Responding to a question about potential obstacles in meeting its $1 billion pledge to Mexico, Carolina Leconte, Netflix’s Content VP for Mexico, said: “We’ve been making original content in Mexico for ten years now, which has allowed us to establish robust local relationships with actors and production teams, both on and off-screen. We continue to expand these partnerships as we grow together.

She mentioned that our aim is continually improving storytelling and adapting to the latest industry advancements and innovations in production methods. Fortunately, Mexico boasts an abundance of skill and tales waiting to be shared, as evidenced by numerous ongoing projects.

1. The lineup features “Las muertas,” a series helmed by film director Luis Estrada (“Herod’s Law”), and “Mal de amores,” a period series set during the Mexican Revolution, adapted from Ángeles Mastretta’s novel.

2. Among them are “Las muertas,” directed by Luis Estrada (of “Herod’s Law”) and “Mal de amores,” a series based on the novel of the same name by Ángeles Mastretta, both set in the Mexican Revolution era.

3. In this collection, you’ll find “Las muertas,” produced by Luis Estrada (known for “Herod’s Law”), as well as “Mal de amores,” a series developed from Ángeles Mastretta’s novel and taking place during the Mexican Revolution.

4. The list includes “Las muertas” directed by Luis Estrada (“Herod’s Law”) and “Mal de amores,” a period series based on the novel by Ángeles Mastretta that unfolds during the Mexican Revolution.

5. This selection comprises “Las muertas,” directed by filmmaker Luis Estrada (famous for “Herod’s Law”), and “Mal de amores,” a series set in the Mexican Revolution, derived from the novel penned by Ángeles Mastretta.

They’ve just started producing four new shows: “Santita,” “Love 9 to 5,” “I’m Not Afraid” (No tengo miedo), and “The Corruptors” (Los corruptores).

In the vibrant state of Jalisco, known for its bustling capital city Guadalajara which boasts numerous cultural events such as the Guadalajara International Film Festival (FICG), a book festival, and a gay pride parade to name a few, introduced a 40% cash rebate on production and post-production expenses in 2023. This attractive incentive is drawing more businesses to establish themselves there, taking advantage of the rebate, which is available to companies that have maintained offices in the region for at least three years.

To receive the rebate, non-local producers must establish a coproduction agreement with a producer based in Jalisco. It was announced at FICG that post-production studio Chemistry has teamed up with its Guadalajara-based partner Semillero Estudios to take full advantage of the benefits more effectively.

Netflix is currently filming Seasons 3 of “The Manny” and “Snakes and Ladders” in the city of Guadalajara, while Apple TV+ is simultaneously shooting its Eugenio Derbez series “Acapulco” in Puerto Vallarta.

Although Jalisco may not match Mexico City in terms of film crew and executive personnel, it boasts a diverse array of locations. “In essence, Jalisco presents a multitude of settings, unlike Mexico City where obtaining a beach location would require at least a five-hour journey. Geographically, Jalisco holds an advantage here. Moreover, it offers exceptional cuisine, not to mention tequila and mezcal. Alejandro Tavares, the film commissioner for Filma Jalisco, stated that on average, five to six international audiovisual projects are hosted by the state each year.

We arranged a familiarization trip here, working closely with the Los Angeles Consulate. It was fantastic that they visited to experience for themselves how effortless it is to work here, including co-productions and similar projects. Given the challenges Hollywood is currently facing, they’re exploring alternative filming locations. He mentioned that Jalisco holds a significant advantage over other Mexican states, primarily due to its excellent connectivity. Two of Mexico’s top five airports are located in Jalisco, and we offer direct flights to Canada, Europe, and the U.S.

In addition to being known for other things, Guadalajara has grown into a significant center for animation. The animation genre is being spearheaded here by El Taller del Chucho, which is backed by Guillermo del Toro. During the Guadalajara Festival over the weekend, El Taller revealed “Sira,” an ambitious animated feature that combines live-action and animation, co-produced with Spain. This project was written by Ángeles Cruz, who is a well-known actor, writer, and director.

Moreover, “They are heavily involved in student projects due to their robust partnership with the University of Guadalajara; Nowadays, it serves as a crucial training hub for aspiring filmmakers and a source of fresh talent for the animation sector,” Tavares pointed out.

Approximately twenty animation studios have been collaborating on various global initiatives, some of which originate from Marvel. The opening night film at FICG, Mexico’s premiere stop motion animated feature “I Am Frankelda”, underwent post-production in Guadalajara and benefited from the cash rebate program. Several films in FICG’s Made in Jalisco section took advantage of this cash rebate, with notable examples being “Abracadaver” and “Over the Waves” (Spanish “Sobre las olas”).

As a movie lover, I can’t help but notice the positive impact of other countries’ efforts in developing their regions. It’s clear that more developed areas lead to an increase in the audiovisual industry and a boost in production services, which is fantastic news for Mexico!

Netflix’s Leconte stated, “We are always ready to venture to places that fit our storylines, and we’re continuously discovering new areas.” He further mentioned, “To date, we have filmed in more than 50 locations across 25 states. For instance, in Oaxaca (‘El secreto del río’), Baja California (‘Gringo Hunters’), Puebla (‘Mal de amores’), San Luis Potosí (both ‘Pedro Páramo’ and ‘Las muertas’), Tijuana (‘Santita’), and Veracruz ( ‘No tengo miedo’) are some of the places we’ve filmed.

As a devoted cinema enthusiast, I’m excited to share that our team is strategically planning to capitalize on Mexico City’s robust infrastructure. Our mission is to broaden the permitting process, moving away from the conventional filming locations like Roma, Condesa, and Coyoacán. Instead, we aim to shine a light on other fascinating aspects of the city, such as Iztapalapa with its rich cultural history, and Azcapotzalco. Additionally, we’re focusing on boroughs boasting significant natural areas, like Milpa Alta, Magdalena Contreras, and Tlalpan. In essence, our goal is to bring more attention to these underserved yet ecologically and culturally vibrant corners of Mexico City.

To partially resolve the beach predicament, the city is negotiating a deal with the well-known coastal resort town of Acapulco. The aim is to rejuvenate the audiovisual link between Acapulco and Mexico City, spearheaded by the Tourism Ministry. We are committed to reviving Acapulco’s cinematic heritage and its long-standing film history, as stated by Saldaña.

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2025-06-09 15:20